Ritalin Attack / James Doesn't Exist - Split
01 - Ritalin Attack - Cop Killer
02 - Ritalin Attack - Step Up Or Shut Up
03 - Ritalin Attack - B.I.T.H. Pt. 2
04 - Ritalin Attack - Breaking And Entering
05 - Ritalin Attack - You Feel Sorry For Who?
06 - Ritalin Attack - Headbang Or GTFO
07 - Ritalin Attack - Wrong Side Of The Tracks
08 - Ritalin Attack - The Return Of White Kong
09 - James Doesn't Exist - Psychotic Boring
10 - James Doesn't Exist - Garbage
11 - James Doesn't Exist - Fucked In The Head
12 - James Doesn't Exist - An Hero
13 - James Doesn't Exist - Open The Vault
14 - James Doesn't Exist - Live My Lief
15 - James Doesn't Exist - Juggling Lye
Ritalin Attack is a project of R. Gnarly.
J. Randall, Thomas M., Nikolai G., Lane O., Josh H., Cory M., and every person who has helped out and supported the scene since...forever.
Grind Your Mind.
James Doesn't Exist
James Doesn't Exist is a project of Nikolai Gawin. As well as writing all the music, all the instruments are played/programmed by Nikolai.
JDE's side of the split was recorded in March/April of 2012 in a damp prison cell. All of the recording and mixing was handled by Nikolai Gawin.
Emil Gorgioski for the JDE logo.
Steve Roggenbuck, for letting me use your beautiful voice and philosophical musings on this album.
And thanks to every asshole and thing on this Earth that pissed me off enough to record this album.
My side of the split is dedicated to Lauren Elizabeth Heavin, my best friend, and my biggest supporter.
This split was conceived and completed within days of the two projects meeting for the first time.
Album art and booklet by R. Gnarly.
All music written and recorded by R. Gnarly and Nikolai Gawin for their respective sides of the release.
Released on Torn Flesh Records, April, 2012
On Twitter @tornfleshrecs
Valley of Steel
May 15, 2012
Ritalin Attach / James Doesn't Exist - Split
The following review is an excerpt from the blog post "Two Review for the Price of One: Ritalin Attack - James Doesn't Exist Split + Gutter Bombin'"; the full text can be found at this location:
The Ritalin Attack side of the split includes eight tracks that span approximately five minutes. That running time is somewhat inflated by the longest of the tracks, “You Feel Sorry for Who?,” which is about a minute and a half of drum machine pattern underneath a sample from Menace II Society.
Similarly-themed samples litter some of the other tracks as well, most notably a rant from Malibu’s Most Wanted that bookends the eighth and final track, “The Return of the White Kong.”
Interspersed between these samples and clips, are the songs themselves — tiny explosions of grindcore fury, typically consisting of the song’s title and little else in the way of lyrical content. (For example, one of the songs incorporates the familiar tagline “Headbang or GTFO” as both title and lyrics).
As to the actual sound of it — well, I remember when my younger brother was little, he had this toy tape player that had a built-in microphone so you could sing along with whatever you were listening to, and it would be broadcast through the built-in speaker. He used to run around the house with the volume turned all the way up, holding that microphone so that it was pretty much entirely inside his mouth, and sing (or just shout) as loudly as he could. That super-distorted, mostly-unintelligible noise is pretty much what you get with these Ritalin Attack songs.
The flip side (by the way, James Doesn’t Exist is the project of an individual named Nikolai Gawin who, according to the liner notes, records his music in a prison cell) is just slightly longer with seven tracks spanning about six minutes, also incorporates samples. According to the liner notes, these are bits of poetry that were written by (and read by) Steve Roggenbuck, a poet and blogger (according to Google). Steve spends part of the time talking about planets’ rings, and other assorted random topics. These songs, excluding the samples are not much longer than those on the other side, but they do seem to have a few more lines of lyric apiece. The vocal delivery is similarly verging on unintelligible, but seems to express a bit more furious anger. The instrumentation, too, is a bit more forceful and hard-hitting — and overall sounds somewhat louder.